Arrangements, Orchestrations and Editions

Arrangements and Orchestrations

As an arranger and orchestrator, he has produced work for The Philharmonia Orchestra, the Royal Liverpool Philharmonic Orchestra, Albert's Band at the Royal Albert Hall, The Elastic Band, Jubilee Opera and other clients, as well as being known for his work on Thespis. Timothy arranged, orchestrated, musically supervised and conducted Leonard Whiting's musical The Angel, choreographed by Wayne Sleep.

Editions

Following on from his work on Thespis, Timothy is known for providing new editions of several items from the Savoy canon. In 2012, conductor John Wilson invited him to create a new performing edition of The Yeomen of the Guard. Timothy used the original manuscript, held at the Royal College of Music, as the principal source material. The score has been presented with the RTÉ Concert Orchestra, Royal Liverpool Philharmonic and Philharmonia Orchestras, and at the 2012 BBC Proms, conducted by Jane Glover. Contact Timothy for more information about his editions.

On numerous occasions I’ve asked Tim to arrange or compose themed pieces for my children’s concerts. His work contains the perfect ingredients for such events. They are attractive, original, funny, energised, difficult enough to keep the professional musicians on their toes and they always receive rapturous applause from both kids and parents. His works have been performed by the Philharmonia Orchestra, the Elastic Band and Albert’s Band (outreach ensemble for the Royal Albert Hall) under my direction. 

Jubilee’s Hip-Hip! Horatio was out of this world. The arrangement, for a small orchestra (virtually a mixed quintet), by conductor Timothy Henty, seemed to yield every sonority under the sun, with adept flute, piccolo and horn supplying much appropriate colouring. The ensemble was first-rate, but more than that: Henty’s lucid instrumentation revealed Hurd’s music as far cleverer than one imagined.

— Roderick Dunnett. Opera, 2013

What is not fully realised is how brilliantly these cheerfully irreverent works translate to the stage, given (as here) a suitably precocious cast, plus captivating design and costumes. An intelligent orchestration...was supplied, with much flair, by Jubilee’s enabling conductor, Timothy Henty, who with just five players elicited subtle combinations worthy of a full orchestra.